John Alden has been volunteering at Hove Museum & Art Gallery for two years. He is researching into the history of the toy collection with particular emphasis on former curator and toy maker Yootha Rose. A toy maker himself, John’s interest lies in the relationship between craft and play in handmade toy production.
During his research, John plans to write a few blogs about the toy collection and its history.
For nearly 80 years toys have played an important part in my life, playing, learning, making, restoring, dealing and collecting.
In the early 1970s I was working with the Singing Tree, a well known shop in the Kings Road, Chelsea, designing and making miniature items for their extensive range of dolls house furniture, when I first heard the name Yootha Rose. I saw a picture of one of the toys that she made and it was, as they say “love at first sight” and I was determined to discover more.
The next 25 years were a busy time in my life and I had little time for research, although I visited a number of museums including the Museum of Childhood in Bethnal Green and Brighton and Hove museums but at that time none had examples of her work on display. This was surprising considering her very considerable involvement with their toy collections. She was considered by Leslie Daiken the author of a number of authoritative books about children’s games and toys, to be “in the first rank of British toymaker-artists”.
By 2003 I had still not seen a single item made by Yootha and then my luck changed, I found not one but two pieces of her work for sale and immediately bought them both. One a Punch and Judy show complete with attentive children, mother and nursemaid, is shown here. The other, a toy shop with numerous miniature toys including a Noah’s ark with animals marching two by two, each smaller than my little finger nails.
This find refocused my search for her toys, details of her life and other work, for she was not restricted to toy making but contributed greatly to the preservation, presentation and promotion of antique toys. The following details of her life and work are extracted from the catalogue of her retrospective exhibition at the Royal Pavilion Art Gallery in 1975 a copy of which is in the archives of the Hove Museum & Art Gallery.
She was involved with the theatre from childhood and gravitated from dancing and acting roles to stage and costume design in the mid 1920s. She created designs for a number of revues including the Concert Party and the Hampstead Revue. In 1929, Sir Donald Playfair commissioned her to design the costumes for La Vie Parisienne establishing her reputation as a stage designer. This was followed by Dandy Dick at The Lyric (1930), Alice in Wonderland at the Little Theatre and Duke of York (1932—34) and Shock Headed Peter at Wimbledon (1934). Paintings, drawings and designs for these featured in the 1975 exhibition at the Royal Pavilion.
Whilst teaching at a boys’ school in Dorset during the Second World War she made some toys to fill the gaps on the village Christmas tree. This began her toy making career and was soon followed by an exhibition at The Little Gallery at Heals, London.
In 1945 sixteen of her toys went on display at the Victoria and Albert Museum Britain can Make It exhibition, sponsored by Heals, this resulted in her receiving orders for 20,000 of her toys – a target that she could never achieve.
Strongly against the mechanised production of toys, she resisted all attempts to mass produce her work. This ensured a vitality to her work that is a combination of bold colouring, vigorous carving and an imaginative use of materials. For example, the use of cotton reels for balloonists’ baskets and gold coloured doilies cut up to provide a rich gilding for the dresses of paper angels. The fantasy element in her work may be considered as a reinterpretation of childhood through adult eyes, explaining why her work has such a strong appeal to the collector.
She was also involved in the real world of children and designed stage sets and costumes for children’s plays The Nursery Romeo and Juliet, and The Land beyond the Mountains. These were accompanied by imaginative and simple instructions on how to build sets, and what materials to use. She also designed cut-out paper toys which were published in the magazine Child Education in 1938.
In 1952 she was appointed Trustee of the National Toy Museum and Institute of Play and when in l959 it moved to The Grange at Rottingdean, she became its Honorary Curator. This large and important collection is now at Hove Museum and Art Gallery.
In 1956 she was a founder member of the British Toymakers Guild and later organised a number of solo exhibitions at The County Town, Lewes, The Grange, Rottingdean and numerous Christmas exhibitions at The Ditchling Gallery. She also assisted with the exhibitions of Toys throughout the Ages and Model Soldiers at Park Lane London, Images d’ Epinal, Japanese Toys, and Cats at Pollocks Toy Museum, London and Penshurst Place toy museum in Kent.
In the last ten years my collection of the toys made by Yootha Rose has grown and in 2013 joined the volunteers at Hove Museum and Art Gallery who gave me access to their archives.
The collections and archives at Hove Museum and Art Gallery are large and my research so far has left me with more questions than answers about the craft persons who became involved with toy making in the post war period and the effect that they have had on the great British toy industry, but my research continues!